American Film History II
Spring 2005 Syllabus
American Film History II: 1968 to Today
Film 4960, Spring 2005
Wednesdays 1:00-3:30, 103 Classroom South
Dr. Ted Friedman
Office: 738 One Park Place South
Office Hours: Tuesdays 1-4
Email: tedf@gsu.edu; Phone: (404) 463-9522
Home Page: http://www.tedfriedman.com
Course Description
How do movies reflect and influence American life? How has Hollywood responded to changing market conditions and global influences? Why are so many of today’s movies so big, loud, and pushy? What are the alternatives to Hollywood’s stories? This class attempts to make sense of the present state of American film by tracing the history of American movies from 1967 to the present. Along the way, we’ll look at the semiotics, aesthetics, economics, and politics of Hollywood movies and their independent alternatives.
Prerequisites
This course builds on the material covered in Film Aesthetics and Analysis (FILM1010) and History of Motion Pictures (FILM2700). Those two courses are required before taking this class.
Readings
The coursepack is sold by Bestway Copy Center, 18 Decatur Street SE (on the first floor of One Park Place South). Additional readings will be distributed via the class email list.
Screenings
You are responsible for viewing the outside screening before class each week. The Library Media Center will have DVDs of most of the films. In addition, most assigned films are readily available at local video stores for home rental. Recommended alternatives to Blockbuster are Movies Worth Seeing (1409 N Highland; 404-892-1802), Videodrome (617 N Highland; 404-885-1117), and the online service Netflix (http://www.netflix.com).
Email Group
All students will be automatically signed up to the online class discussion group. If for some reason you are not receiving the listserv, you can manually sign up at http://mailbox.gsu.edu/mailman/listinfo/conholly. I will regularly forward Hollywood news, reviews of upcoming movies, and other useful material to the list. You’re encouraged to forward other interesting information, post your reactions to recent movies, respond to other postings, or continue any other ongoing discussions from class. Most email readings are recommended but not required. However, some required readings will be distributed via email, as noted in the schedule below.
Schedule
1/12 Introduction
In-class screening: selections from Saving Private Ryan
1/19 Hollywood Today
Read Benshof and Griffin, “Introduction to the Study of Film Form and Representation”
David Bordwell, “Intensified Continuity”
A collection of links to articles on The Lord of the Rings will be distributed
by email; choose at least one to read
See any of The Lord of the Rings films. Choose an extended edition and view with
one of the commentary tracks if available (Peter Jackson, 2001-3)
In-class screening: Behind the Screen and selected shorts on the making of The
Lord of the Rings
1/26 1970s: Hollywood Renaissance?
Read Robert Ray, “The Left and Right Cycles”
Geoff King, “New Hollywood, Version 1”
See The Graduate (Mike Nichols, 1968)
In-class screening: A Decade Under the Influence
2/2 The Other 1970s: Blaxploitation
Read Ed Guerrero, excerpt from Framing Blackness and supporting documents
See Baadasssss! (Mario van Peebles, 2004)
In-class screening: Baadassss Cinema
2/9 Blockbusters, Myth and Fandom
Read Thomas Schatz, “The New Hollywood”
Christopher Vogler, excerpts from The Writer’s Journey
Henry Jenkins, “Quentin Tarantino’s Star Wars?”
http://web.mit.edu/21fms/www/faculty/henry3/starwars.html
See Star Wars (George Lucas, 1976)
In-class screening: George Lucas in Love and Once Upon a Jedi
2/16 War and Masculinity in Reagan’s America
Read Susan Jeffords, selections from Hard Bodies
See Platoon (Oliver Stone, 1986)
In-class screening: selections from Rambo
2/23 Race and Representation
Read Robin Wiegman, “Race, Ethnicity, and Film”
Gene Seymour, “We’ve Gotta Have It”
Benshoff and Griffin, “African Americans and American Film”
See Do the Right Thing (Spike Lee, 1989)
In-class screening: Classified X
3/2 Documentary and Experimentation
No readings
See Sherman’s March (Ross McElwee, 1986)
In-class screenings: selected documentary and experimental shorts
Take-home midterm due
3/9 No Class – Spring Break
3/16 Postfeminism and the Backlash
Read Susan Faludi, excerpts from Backlash and supporting documents
Suzanna Danuta Walters, “Postfeminism and Popular Culture: A Case
Study of the Backlash”
See Thelma & Louise (Ridley Scott, 1989)
In-class screening: selections from I’m the One That I Want
3/23 Queer Studies
Read Alexander Doty, “There’s Something Queer Here”
Benshoff and Griffin, “Sexualities on Film Since the Sexual Revolution”
See Boys Don’t Cry (Kimberly Peirce, 1999)
In-class screening: The Celluloid Closet
3/30 War and Film Today
Readings to be distributed via email
See Three Kings (David O. Russell, 1999)
In-class screening: Soldiers Pay
4/6 Beyond Hollywood Narrative
Read Robert McKee, excerpts from Story
See Adaptation (Spike Jonze, 2002)
Presentations
4/13 Globalization and Hybridity
Read David Bordwell, “Hong Kong Martial Arts Cinema”
Toby Miller et al, excerpts from Global Hollywood
Tad Friend, “Remake Man”
See Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
Presentations
4/20 Postmodernism and the Surveillance Society
Read Ronald Bishop, “The Truman Show as Media Criticism”
J. Macgregor Wise, “Mapping the Culture of Control: Seeing Through the
Truman Show”
See The Truman Show (Peter Weir, 1998)
Presentations
4/27 Class Choice
No readings
See film to be chosen by class
Presentations
Research paper due
The take-home final is due in the mailbox on the door to my office by Wednesday, May 4, 6 PM.
Assignments
The class assignments add up to total of 100 possible points. Your final grade for the class is determined by adding up your grades for each assignment, adjusting for attendance, then applying the final number to the following scale:
90-100=A, 80-89=B, 70-79=C, 60-69=D, 0-59=F
1. Presentation – 10 points
You will work with one other student to research, prepare, and present a 15-20 minute discussion of a contemporary American filmmaker. See attached handout for more details.
2. Take-Home Midterm – 30 points
The take-home midterm will require you to relate concepts from the readings and lectures to the films screened for class. Due in class March 2.
3. Research Paper – 30 points
You will produce a 7-9 page research paper on an American film made since 1968. More details on the research paper will follow in a separate handout. Due in class April 27.
4. Take-Home Final – 30 points
The take-home final will be structured just like the midterm, covering the second half of the semester. Due May 4.
5. Attendance Adjustment
As Woody Allen put it, “80 percent of success is showing up.” It’s less than that in this formula, but the bottom line is that you can’t contribute to the class if you’re not there. You’re allowed one unexcused absence for the semester. After that, each unexcused absence subtracts one point from your grade total. Excused absences include medical and family emergencies. You will be expected to schedule any employment responsibilities around this class, or accept the consequences of missed classes for your grade. If you do need to miss a class, please contact me ahead of time, and make arrangements to catch up on missed material.
Policies
Re-Writes and Makeup Tests
Opportunities for revision and improvement will be available for the midterm, the presentation, and the research paper prospectus. In addition, I will look at optional drafts of the research paper submitted on or before April 28. One rule: a 24-hour cool-down period after the return of any assignment. Wait a day before coming to talk to me, and I’ll be happy to listen to your concerns and help you improve your work.
Late and Unsubmitted Papers
Late papers will be marked off by ½ point for every day overdue unless an extension is agreed upon before the due date. Any unsubmitted papers will receive a 0. Likewise, any unanswered exam questions will receive a 0. So, if you answer only 2 out of 3 required exam questions, you will get a 0 on the third question.
Academic Honesty
The university’s policy on academic honesty is published in On Campus: The Undergraduate Co-Curricular Affairs Handbook, available online at http://www.gsu.edu/~wwwcam. The policy prohibits plagiarism, cheating on examinations, unauthorized collaboration, falsification, and multiple submissions. Violation of the policy will result in failing the class, in addition to disciplinary sanctions.
The Internet makes it easy to plagiarize, but also easy to track down plagiarism. Bottom line: Don’t plagiarize. It’s wrong, and it’s not worth it. There’s always a better way. Cite all your sources, put all direct quotations in quotation marks, and clearly note when you are paraphrasing other authors’ work.
Withdrawals
Students withdrawing on or before the midterm point will receive a W provided they are passing the course. Students who withdraw after the midterm point will not be eligible for a W except in cases of hardship. If you withdraw after the midterm point, you will be assigned a WF, except in those cases in which (1) hardship status is determined by the office of the dean of students because of emergency, employment, or health reasons, and (2) you are passing the course.
Incompletes
Incompletes may be given only in special hardship cases. Incompletes will not be used merely for extending the time for completion of course requirements.
Changes to the Syllabus
This syllabus provides a general plan for the course. Deviations may be necessary.
Presentation Assignment
With a partner, you will research, prepare, and present a 15-20 minute discussion of a contemporary American filmmaker. The presentation should follow this five-part structure:
1. Hand out an info sheet on the director to all the members of the class. (You’ll need to come to class with 22 copies.) A sample info sheet is included below.
2. Present a biographical overview of the director’s career. You don’t need to mention every film the director’s done, just the significant highlights that demonstrate the director’s thematic interests and visual style. (5 minutes)
3. Screen a short video clip selected to exemplify the director’s style. The clip must be less than 5 minutes long. Practice at home to make sure it doesn’t run over; if it does, I’ll have to cut it off. Choose only one continuous scene. If you use a videotape, have it cued to the beginning of the scene. If you use a DVD, be prepared with the exact scene number and time mark where your clip starts. You won’t be penalized for any technical difficulties, but points will be taken off if you’re not properly prepared.
4. Present an analysis of the clip. Choose three film elements, and discuss in detail how each element functions in the clip. Rewind and replay selections from the clip, or pause on still images, to highlight key moments. (Be sure to prepare by noting in advance the time marks for moments you want to highlight.) (5 minutes)
5. Start the class discussion with the question from your info sheet, then lead the subsequent conversation. At some point, I’ll probably jump in with some questions for you, and some questions for the class. (5-10 minutes)
You and your partner can divide up the work as you see fit. One possibility is for one of you to be responsible for the biographical material, the other for the analysis of the video clip. Another option, if you are a filmmaker, is to prepare the entire presentation on video and screen it for the class. If you make a video presentation, you do not need to follow the above format exactly, but your video should include biographical information, film clips, and analysis.
Signup is first come, first served. When you’ve decided on a director, send an email to the class listserv at conholly@mailbox.gsu.edu. The first half of the class will get their choice of director. The second half of the class will choose from the selected directors. Groups of two are welcome to sign up together. Your presentation date will be assigned after sign-up is completed, to make the best fit with the syllabus.
Director List
Note: This is only a partial list. Feel free to choose any other director who’s made English-language films since 1967, with one exceoption: directors of films screened for class are off limits, since they’re already covered.
Woody Allen
Paul Thomas Anderson
Allison Anders
Kenneth Anger
Greg Araki
Darren Aronofsky
Hal Ashby
Ralph Bakshi
Paul Bartel
Kathryn Bigelow
Lizzie Borden
Danny Boyle
Stan Brakhage
Albert Brooks
Mel Brooks
Charles Burnett
Tim Burton
James Cameron
Jane Campion
John Carpenter
John Cassavetes
Joel and Ethan Coen
Martha Coolidge
Sophia Coppalla
Roger Corman
Alex Cox
Wes Craven
David Cronenberg
Cameron Crowe
Julie Dash
Ossie Davis
Tamra Davis
Guillermo del Toro
Jonathan Demme
Brian DePalma
Tom DiCillo
Atom Egoyan
Bobby and Peter Farrelly
Abel Ferrara
David Fincher
Stephen Frears
William Friedkin
Sam Fuller
Terry Gilliam
Michael Gondry
F. Gary Gray
Christopher Guest
Mary Harron
Hal Hartley
Amy Heckerling
Albert and Allen Hughes
Henry Jaglom
Jim Jarmusch
Neil Jordan
Jon Jost
Harmony Korine
Stanley Kubrick
Neil LaBute
John Lassiter
Barry Levinson
Richard Linklater
Ken Loach
David Lynch
Terrence Malick
David Mamet
Michael Mann
Darnell Martin
Elaine May
Jonas Mekas
Ismail Merchant
and James Ivory
George Miller
Michael Moore
Errol Morris
Russ Meyer
Mira Nair
Gregory Nava
Victor Nunez
Sam Peckinpaugh
Arthur Penn
Sidney Poitier
Roman Polanski
Alex Proyas
Sam Raimi
Rob Reiner
Tim Robbins
Robert Rodriguez
George Romero
Alan Rudolph
Nancy Savoca
John Sayles
Michael Schultz
Martin Scorcese
Susan Seidelman
M. Night Shyamalan
Bryan Singer
John Singleton
Jack Smith
Kevin Smith
Stephen Sodebergh
Todd Solondz
Stephen Speilberg
Penelope Spheeris
Whit Stillman
Quentin Tarantino
Julien Temple
Rose Troche
Melvin Van Peebles
Gus Van Sandt
Paul Veerhoven
Lars von Trier
Larry and Andy Wachowski
Wayne Wang
Andy Warhol
Jon Waters
Forest Whitaker
Fredric Wiseman
John Woo
Boaz Yakin
Robert Zemeckis
Presentation Info Sheet Template (with example)
Director’s name and date of birth:
Tim Burton, b. 1958
Filmography (as director), with release years:
Planet of the Apes (2001)
Sleepy Hollow (1999)
Mars Attacks! (1996)
Ed Wood (1994)
Batman Returns (1992)
Edward Scissorhands (1990)
Batman (1989)
Beetlejuice (1988)
Pee-wee's Big Adventure (1985)
Frankenweenie (1984)
Vincent (1982)
Source of clip: Planet of the Apes
Film elements for analysis:
Makeup: skillfully blends human features with animals’ characteristics
Acting: inventive incorporation of ape-like behavior into characters’ mannerisms
Production design: gloomy, gothic
Question for class discussion:
Does Tim Burton bring a valuable outsider’s perspective to mainstream cinema, or is he just a sellout?
Posted by tedf at February 27, 2005 05:17 AM